JUNE, 1900 REMBRANDT PRICE, 25 CENTS 
 
 N D 
 
 I 53 
 
 m in 
 
 SB 37A mo 
 
 H^t6!iifflluglTatEWttojarap r 
 
 JssuelHIipntljl^ 
 
 REMBRANDT 
 
 PART 6 VOLUME I 
 
 Bat^anDGutltKIompany, 
 fiubligtjeri* 
 
 42<Itjaunqitrcrt 
 
 J 
 


R4M3 
 
MASTEKS IX APT. PLATE I. 
 
 fHOTOGUArH BY RAUH, CLEMNT * CIS 
 
 335688 
 
 BEMBHASDT 
 
 MAN WITH A FTJR CAP 
 
 THE HERMITAGE, ST. PETERSBURG 
 
H 
 
 12 
 
 si 
 
 isi 
 
 i ' Z 
 
 
 
MASTERS IX ART, 
 
 PHOTOGRAPH BY HA 
 
 PLATE in. 
 
 JIK.MIiKAXDT 
 TRAIT OF A IiADT 
 
 liechtenstki.y gallery, viej^ista 
 

 MASTKHS IN AHT, 
 
 PHOTOGRAPH 8Y Hl 
 
 PLATE IV. 
 
 HKMHKAIfDI 
 
 POKTHAIT OK SASKIA 
 
 CASSEL GAIjIjKKT 
 
H 
 
 . O E* 
 
 3 : * 
 5 3 ^ 
 
 lag 
 
 Sf g 
 
 S M 
 
 tM 
 
 8 s 
 
 h 
 
 s 
 
 H 1 
 
 2h 
 
IASTKJRS IX AKT. 1'LATE VI. 
 
 B EH KKAxVUT 
 
 POKTHAIT OK KLEAZAK SffALMIUS 
 
 ANTWKHP MUSEUM 
 
MASTERS I.V ART. PLATE VII. 
 
 PHOTOGRAPH BY HANFSTAENGL 
 
 BKMBRANDT 
 PORTRAIT OF ELIZABETH RAS 
 RYKS MUSEUM, AMSTERDAM 
 
MASTERS IX A.KT. PLATE VIII. 
 
 OTOQRAPH BY BRAUN, CLEMENT 4 CIE. 
 
 KKMBHAXDT 
 
 CHKIST AT EMMAUS 
 
 LOUVBE, PARIS 
 
u Q d 
 
 5^ 
 
 
 S3a 
 
 2 5 
 
 
1 
 
 Si 
 
 5 3 a 
 
 * .- 91 
 
POHTHAIT OF HEHBHANDI BT HIMSELF LOUVEE, PARIS 
 
 Rembrandt painted more than forty portraits of himself, in many aspects and va- 
 rious fantastical costumes. Although probably few of them can be described as 
 accurate likenesses, it is clear that he was a strong man, of ordinary figure, with a 
 thick nose, coarse but firm mouth framed with a stiff moustache and imperial, and 
 dark, piercing eves. The portrait here reproduced was painted in 1633, and shows 
 him clad in a violet velvet mantle with a jewelled gold chain about his shoulders. 
 
MASTERS IN ART 
 
 lirmtnanTrt tan l&ijn 
 
 BORN 1606: DIED 166 9 
 DUTCH SCHOOL 
 
 UNTIL within the last half-century the generally accepted story of Rembrandt's 
 life was made up of a collection of fictitious statements, the falsity of which has 
 been proved by the careful researches of M. Charles Vosmaer and his fellow- workers, 
 of MM. Bredius, de Vries, Immerzeel, and others, and lastly of Dr. Wilhelm Bode, and 
 M. Emile Michel, whose work upon Rembrandt, published in 1893, is now the stand- 
 ard authority on the subject. 
 
 But, although much concerning Rembrandt has been revealed, although " the cob- 
 webs of myth with which, partly through malice, partly through ignorance, the master' s 
 image had been overwhelmed have been torn away," nevertheless, painstaking and 
 seemingly exhaustive as the researches have been, much concerning the life of the great- 
 est of Dutch painters still remains shrouded fn darkness and mystery. 
 
 lwbrt 
 
 WALTER ARMSTRONG "FORTNIGHTLY REVIEW, "1894 
 
 THE doubts in connection with Rentbrajadt begin with the date of his birth. Three 
 different years, 1606, 1607, and 1600, have been given. M. Michel, following 
 Dr. Bredius, says he was born at Leyden on July 15, 1606, which makes him sixty- 
 three at his death, in 1669. He was the fifth of six children born to the miller, Har- 
 men van Rijn (Harmen of the Rhine) by his wife, Neeltjen Willemsdochter van Zuit- 
 broeck. Humble as they were in station, his parents sent him to the Latin school in 
 order that, as Orlers, the best authority for his early years, puts it, "he might in the 
 fulness of time be able to serve his n Jtive city and the Republic with his knowledge. ' ' 
 Such studies were not to the boy's mind, however, and Harmen soon perceived that 
 his son's inclination towards art would have to be indulged. He was placed with Jakob 
 van Swanenburch, whom he quitted three years later to study under Lastman at Am- 
 sterdam. It was during the first short stay in the city whose chief ornament he was 
 afterwards to become, that he underwent the influence of Elsheimer, who had been 
 Lastman 's master in Rome, and of Lievens, who was his fellow-pupil in Lastman 's stu- 
 dio. But Rembrandt only stayed six months in Amsterdam. He returned to Leyden 
 in 1624, ** determined," says Orlers, " to study and practise painting alone, in his own 
 fashion." He remained six years in his native town, working much from the members 
 of his own family and from himself, carrying out those elaborately staged compositions 
 which mark his first period as a painter, and taking the first steps as an etcher. ... 
 
 M. Michel in his "Life of Rembrandt" paints a graphic picture of Amsterdam in 
 163 1, of her growing trade and prosperity, and of the transformation, not only in the 
 city itself, but in the spirit of the inhabitants, which followed the long struggle with 
 
22 $?aterin&rt 
 
 Spain. The revival of civil life had been followed by a great increase in the attention 
 given to the arts. The institutions fostered by the war had encouraged painters, and 
 now, with returning prosperity, other institutions, and especially those connected with 
 charity, came forward to commission pictures. For a long time Amsterdam was the 
 chief place to profit by the return of peace. Her position, at once well sheltered and 
 easily accessible both from the interior and the sea, has often been likened to that of 
 Venice, but perhaps a comparison would be better with Constantinople. Her posi- 
 tion at the head of the then navigable Zuyder Zee, and at a point where all the canals 
 of Holland converged from the south, was very similar to that of the Eastern capital on 
 the Sea of Marmora. Within a century of William the Silent's assassination in the pal- 
 ace at Delft, Amsterdam had practically grown into the town we all knew until the 
 other day. Like several other Dutch cities, she has now begun to put on suburbs at an 
 alarming rate, but in 1630 she was already at the knees of that rampart over which she 
 only began to swarm some twenty years ago. 
 
 It was in this Amsterdam that Rembrandt established himself in 1 630; here, in 1 63 2, 
 that he painted his first corporation picture, the "Lesson in Anatomy; " and here, in 
 1634, that he married his wife, Saskia van Uylenborch, much of whose short married 
 life must have been spent in sitting to her husband. M. Michel enumerates some eight- 
 een portraits of her, of one kind or another, not counting compositions in which she 
 may have sat for single figures. Some have recognized her features in an even greater 
 number of cases. Saskia died in 1642, the year of "The Night Watch." Vosmaer, 
 through a misapprehension by his friend, Dr. Schekema, of an entry in a parish book, 
 gave a second wife to Rembrandt, one Catharina van Wyck, whom he was supposed to 
 have married in 1665. It is now believed that Saskia's only successor was Hendrickje 
 Stoffels, whose connection with the mastem began about 1650 and lasted till her death, 
 which is supposed to have occurred aboutl 662. The most intricate and obscure points 
 in Rembrandt's life are those connected \^Kaskia's disposition of her property. She 
 made a will in favor of her son Titus, wjiW contingent remainder for the benefit of 
 her sister Hiskia, but as the will also contain^, a stipulation that Rembrandt should not 
 be legally bound to carry out its provision" because she had confidence that he would 
 behave in the matter in strict obedience to his conscience," it is difficult to understand 
 exactly how it came to precipitate his ruin. However this may be, the fact remains 
 that between 1654 and 1658 the painter was stripped of all the property he had accumu- 
 lated in the historic house in the Breestraat, and that for the rest of his life he was a 
 sort of nomad, shifting his lodgings with uncorafbrtable frequency, carrying with him 
 nothing but the materials of his art and some littfc wreckage from his collections, which 
 seem to have been saved we know not how. During all this period, except the last 
 few years, he had for legal tuteurs Hendrickje, and his son Titus, who made shift to 
 manage his affairs while he confined his thoughts to art. How he passed the melan- 
 choly years which intervened between their deaths and his own we can only conjec- 
 ture. . . . 
 
 Rembrandt's son Titus died in 1668, and the old painter was left with two children 
 (a daughter and a granddaughter) to form his only links with the past. His own death 
 took place about thirteen months later. So far no allusion to it has been found in any 
 contemporary document, except the death-register of the Werter-Kerk of Amsterdam, 
 in which this entry occurs: "Tuesday, October 8th, 1669; Rembrandt van Rijn, 
 painter, on the Roozegraft, opposite the Doolhof. Leaves two children." 
 
ftetnbran&t 
 
 Cije &rt of BkembratiBt 
 
 EUGENE FROMENTIN has given us, in his " Maitres d' Autrefois," the most 
 illuminating, the most penetrating, criticism upon Rembrandt that has yet appeared 
 
 a key criticism, which renders many confusing and diverse opinions reconcilable. 
 Unfortunately the length of his masterly essay makes it impossible to reproduce it here in 
 its entirety, but in the following synopsis (though for the sake of condensation we have 
 been obliged to depart from the logical order of the original) we shall use Fromentin's 
 own expressions wherever possible. 
 
 The starting-point or text of the theory is, that Rembrandt's was a dual nature, that 
 he was two men in one, the first a trained, facile, and workmanlike Dutch painter of 
 his own time, above all a realist; the second a visionary, a dreamer, an idealist whose 
 ideal was light. 
 
 The first of these Rembrandts, Rembrandt the realist, the accomplished technician, 
 
 whom Fromentin has called the " exterior man," was possessed of a clear mind, a vig- 
 orous hand, and infallible logic; indeed in every quality the very opposite of the romantic 
 genius to whom the admiration of the world has been almost entirely given. And 
 assuredly, in his way, this " exterior ' ' Rembrandt is no inferior master. His manner of 
 seeing is thoroughly healthy, his way of painting edifying from the simplicity of the 
 means employed, attesting that he wished above all things to make his work compre- 
 hensible and veracious. His palette is limpid, without cloudiness, tinged with the true 
 colors of the daylight. His drawing makes you forget it, but it forgets nothing. He 
 expresses and characterizes, with their true individualities, features, glances, attitudes 
 and gestures, the normal habits and the accidents of life, he is, in a word, admirably 
 lifelike. His execution has the propriety^ha breadth, the high bearing, the firm tissue, 
 the force and conciseness which characteWf bainters who are masters of their craft. As 
 the work of this clear-seeing, workmarM:erealist, the "exterior" Rembrandt, we 
 may instance the portrait of ** Burgomame^ix " in the Six Gallery at Amsterdam, 
 ** The Gilder " in our own country, and the " Portrait of Elizabeth Bas " reproduced 
 in this issue (though this example is not so apt an instance as the other pictures named). 
 In these portraits there is no poetry, no idealism, and yet they are so thorough in work- 
 manship, so truly seen and rightly rendered, that they deservedly rank among the world's 
 masterpieces. 
 
 So much for the "exterior" RerArandt. Let us now turn to the other, Rem- 
 brandt the idealist, the dreamer. Here is a painter far more subtle, more difficult to 
 characterize. Perhaps we shall more clearly see what he was if we approach him through 
 an example of his work, such as, for instance, the " Christ at Emmaus " (Plate vm). 
 
 This little picture, insignificant in appearance, of no great composition, subdued in 
 color, almost awkward in execution, would alone be sufficient to establish the greatness 
 of a painter. Not to speak of the disciple who clasps his hands in worship, nor of the 
 other, who, astounded, his gaze fixed upon the face of Christ, is plainly uttering an ex- 
 clamation of amazement, one might only remember in this marvellous work the figure 
 of the Christ, and it would be enough. What painter has not given us his conception of 
 Christ? From Leonardo, Raphael, and Titian, to Van Dyck, Holbein, Rubens, and 
 Van Eyck, how have they not deified, humanized, and transfigured him, told the story 
 of his passion and of his death, related the events "of his earthly life, and conceived the 
 glories of his apotheosis? But has he ever been imagined like this? In pilgrim's garb; 
 pale, emaciated; breaking bread as on the evening of the Last Supper; the traces of tor- 
 ture still on the blackened lips; the great, dark, gentle eyes widely opened and raised 
 
24 aa t er in &r t 
 
 towards heaven; the halo, a sort of phosphorescent light, enveloping him in an indefin- 
 able glory; and on his face the inexplicable look of a living, breathing human being, who 
 has passed through death ! The bearing so impossible to describe, and assuredly impos- 
 sible to copy, the intense feeling of the face, where the features are undefined and where 
 the expression is given by the movement of the lips and by the look, these things, in- 
 spired one knows not whence and produced one knows not how, are all priceless. No 
 art recalls them, no one before Rembrandt, no one after him, has expressed them. 
 
 And if, seeking to discover the means by which such marvels are produced, we look 
 into the picture for an explanation, do we find it by saying, as so many critics have con- 
 tented themselves with saying, that Rembrandt was a consummate master of chiaroscuro? 
 Not if we mean by chiaroscuro the play and opposition of light and shadow, in which 
 dark waves, shaded, deepened, thickened, revolve around bright centres which are thereby 
 made to appear more distinct and radiant, and yet in which the darkness is transparent, 
 the half-darkness easy to pierce, and even the strongest colors have a sort of penetrability 
 which prevents their being black. This form of expression was by no means either the 
 invention or the exclusive quality of Rembrandt. All the great Italians, notably Leonardo 
 and Titian, have used it; nay, Rembrandt in his other self the realist, the exterior 
 man used it consummately. Indeed it was the native and necessary form in which 
 Rembrandt, in either of his personalities, always expressed his ideas. Surely this does not 
 explain the mystery. 
 
 But let us take a step further: let us admit (and it is undeniably true) that this ideal- 
 ist, this dreaming Rembrandt, was more than a mere master of chiaroscuro, that he 
 was the greatest master of it that has ever lived, and that because it was so intimately 
 adapted to his genius, he developed it into a means of expression of which it had never 
 before nor has it since been capable. Admit that under his hand, misty, veiled, discreet, 
 it lends a charm to half-hidden things, invites curiosity, adds an attraction to moral 
 beauty, and finally, partakes of sentiment, ofjgmotion, of the uncertain, the indefinite, 
 of the dream and of the ideal, in a wor^/Wves a double life, the life it has by nature 
 and that which comes to it through communicated emotion. And yet, admitting all this 
 (and though it is clear that in thus broademng the meaning of the word " chiaroscuro " 
 we are nearer and nearer to the secret), we have not solved the mystery, nor quite 
 lifted the veil which hides the supreme greatness of Rembrandt the dreamer, the idealist, 
 the painter of the ** Christ at Emmaus." 
 
 Suppose, then, that in despair of classifying him as merely a master of chiaroscuro, in 
 despair of stretching the word to make it contain the whole truth about him, in despair of 
 finding a ready-made term in the vocabulary, vie should invent one, and call him a 
 "luminarist;" coining this barbarous word to signify a man who would conceive light 
 outside of recognized laws, who would attach to it an extraordinary meaning, who 
 would make great sacrifices to it. If such is its signification, Rembrandt is at once defined 
 and judged; for it expresses an idea, a rare eulogium, and a criticism. The whole career 
 of Rembrandt the dreamer turns round this troublesome objective point, to paint only 
 by the help of light, to draw only with light. He has proved that fight exists in itself, v"^ 
 independent of exterior form and of coloring; and that it can, by the force and variety 
 of its usage, the power of its effects, the number, the depth and the subtlety of the ideas 
 which it may be made to express, become the principle of a new art. Life he per- 
 ceives in a dream, as an accent of another world, which renders real life almost cold 
 and makes it seem pale; and his ideal, as in a dream, pursued with closed eyes, is light, 
 the nimbus around objects, phosphorescence on a black ground. It is fugitive, un- 
 certain, formed of imperceptible lineaments, all ready to disappear before they are fixed, 
 ephemeral, and dazzling. To arrest the vision, place it upon canvas, give it form and 
 
&em bran tot 25 
 
 relief, preserve its fragile texture, give it brilliancy, and let the result be a strong, 
 masculine, and substantial painting, as real as any other, which would resist contact with 
 Rubens, Titian, Veronese, Giorgione, Van Dyck, this is what Rembrandt the "lu- 
 ' minarist " attempted. Did he accomplish it? The judgment of the world is there to 
 sav. When this dreamer of light used it appropriately, when he used it to express what 
 no other painter in the world has expressed, when, in a word, he accosts with his dark 
 lantern the world of the marvellous, of conscience, the ideal, then he has no peer, be- 
 cause he has no equal in the art of showing the invisible. All the differing judgments 
 that have been pronounced upon his works beautiful, defective, doubtful, incontestable 
 can be brought back to this one simple question: Was the occasion one for making 
 light an exclusive condition? Did the subject require it, did it allow it, or exclude it? 
 In the first case the work results from the spirit of the work : infallibly it must be admi- 
 rable. In the second the result is uncertain; and almost invariably the work is disputable 
 or a poor success. But why was it that Rembrandt the pure idealist, the dreamer of 
 the invisible, the enamored of light, so seldom attained to this supreme achievement? 
 Perhaps we may discover. 
 
 To recur to the little picture which has served us as a point of departure for inquiry 
 into his nature, we cannot blind ourselves to the fact that, in spite of its wonderful 
 effects, it is technically in every way inferior to the portrait of Elizabeth Bas. It is not 
 well drawn, it is colorless, in its physical appearance the canvas is mean and insignifi- 
 cant, the workmanship is timid and almost fumbling; indeed in its very essential inspira- 
 tion, the handling of its light, it is not unimpeachable, for even light in the hand of this 
 dispenser of it was no marvellously submissive and docile instrument of which he was 
 sure. It possessed him, governed him, conducted him to the impossible, inspired him 
 sometimes to the point of sublimity, and sometimes betrayed him. 
 
 How, then, are we to reconcile the work of these two men the exterior man, the 
 / masjej^oftechnique^who can_be so cleai>with this idealist, this dreamer of dreams, 
 whose visions are so often haltingly expressed? 
 
 The key to the mystery lies in the diversity of the two natures nay, in their ad- 
 versity! Of almost equal force, but in objects opposite, they clog, hamper, and embar- 
 rass each other. Rembrandt was not a man whom tension fortifies, to whom it gives 
 balance. The visionary bends himself uneasily to the expression of natural truth, but is 
 inimitable when the obligation of veracity does not hamper his hand; the technician is 
 a workman who can be magnificent when the visionary does not trouble and distract him. 
 One perfection he rarely shows because of the difficulty of maintaining himself in this 
 ideal state, of painting an entire picture in it; because he could rarely escape the rising in 
 him of the realist to trouble the dreamer. To the other he as rarely attains, because the 
 idealist so constantly intervened to disturb the calm workman. 
 
 The whole history of Rembrandt's life, then, may be expressed as a struggle for the 
 reconciliation of his two natures, a struggle of which the painter himself was, perhaps, 
 unconscious. All his works bear testimony to the difficulty he had in finding a subject 
 of such mixed character that both sides of his talent might be manifested together with- 
 out injury to each other. To Fromentin the principal interest of " The Night Watch " 
 lies in the fact that it is to him a clear evidence of struggle, a battle-ground which 
 marks the progress of the reconciliation, a splendid failure which shows us the painter in 
 a day of great ambiguity, when neither his thought was free nor his hand healthy. 
 
 Did he ever succeed in effecting the reconciliation, in finding the subject? If never 
 completely, surely most nearly in "The Syndics." A group of burghers and mer- 
 chants, but notable men, assembled in their own house, before a table with an open reg- 
 ister upon it, surprised in full council. No one of them is posing, they are all living. 
 
Y- 
 
 26 <Jta t cr in &r t 
 
 Occupied without acting, they speak without moving their lips. A warm atmosphere, 
 increased tenfold in value, envelops the whole with rich, grave half-tints. The paint- 
 ing and relief of the linens, the faces, and the hands is extraordinary, and the extreme 
 vivacity of the light is as delicately observed as if Nature herself had given its measure 
 and quality. The picture is at once very real and very imaginative, both copied and con- 
 ceived, prudently managed and magnificently painted. In this canvas all Rembrandt's 
 efforts have borne fruit; not one of his researches has been in vain. Here he meant to 
 treat living nature as he treated fictions, by mingling the ideal and the true, and here he 
 succeeded. The two men who had long divided the forces of his mind joined hands 
 in this hour of success. 
 
 Taken thus, as a dual nature, Rembrandt is wholly explained, his life, his work, his 
 leanings, his conceptions, his poetry, his methods, his way of working, even to the color 
 of his paintings, which is only a bold and studied spiritualization of the material elements 
 of his art. 
 
 JOHN C. VAN DYKE "THE DIAL," VOL. 16 
 
 REMBRANDT was a remarkable man in the annals of art, a superb etcher and a 
 supreme painter, whose like it is not probable we shall see again. Primarily he 
 was a portrait-painter. The single figure was more consonant with his art-methods than 
 the composed group. This was probably due to several causes. He was no lover of 
 the traditional or academic, and never followed school formulas in composition to any 
 extent. His composition was his own, and it was sometimes good and sometimes bad. 
 He had not a particle of what has been called *< style," had no,care for line as line, 
 and was uniquely individual in the picturesque. With peculiar methods that became 
 dominant in his art and were opposed to classic composition, he often distorted lights 
 ( and shadows, and built up certain portions of a composition by dragging down other 1 
 1 portions; and this, while a forceful method of procedure with the single figure, as his / 
 | portraits attest, was not perhaps the best method of handling composed groups, as a J 
 ' number of his large figure-pieces attest. His mastery of light-and-shade rather militated 
 against his composition, just as it bleached and often falsified his color. Fine in many 
 instances as a colorist, he was prone to destroy the puri f y and value of tones by subor- 
 dination; and, positive as he was in handling, he at times lapsed into heaviness and 
 ineffectual kneading. 
 
 Mentally he was a man keen to observe, assimilate, and synthesize. His conception 
 was localized with his own people and time (he never built up the imaginary or fol- 
 lowed Italy), and yet into types taken from the streets and shops of Amsterdam he in- 
 fused the very largest humanity through his inherent sympathy with man. Dramatic,^ 
 even tragic, he was at times, and yet showed it less in vehement action than in passion- 
 ate expression. He had a way of striking universal truths through the human face, a 
 turned head, bent body, or outstretched hand, that was powerful in the extreme. His 
 people have great dignity and character; and we are made to feel that they are types of 
 the Dutch race people of substantial physique, slow in thought and impulse, yet ca- 
 pable of feeling, comprehending, enjoying, suffering. His landscapes, again, are a syn- 
 thesis of all Dutch landscape, a grouping of the great truths of light, space, and air. 
 Whatever he turned his mind upon was treated with that breadth of view that over- 
 looks the little and grasps the great. 
 
 He painted many subjects, dating from 1627 to the time of his death, and at first 
 
 / was a little sharp in detail and cold in coloring. After 1654 he grew much broader in 
 
 handling and warmer in coloring, tending, toward the end of his life, to rather hot tones. 
 
 His domestic troubles served only to heighten and deepen his art, and perhaps his best 
 
Jftemfcranfct 27 
 
 canvases were painted under stress of circumstances and in sadness of heart. His life is 
 another proof, if needed, that the greatest truths and beauties are to be seen only through 
 tears. Too bad for the man! But the world the same ungrateful, selfish world that 
 has alwavs lighted its torch at the funeral pyres of genius is the gainer. 
 
 WALTER ARMSTRONG "MAGAZINE OF ART," VOL.23 
 
 MORE, perhaps, than in the case of any other first-rate artist do we recognize the 
 work of Rembrandt by the personality behind it. Superb though his technique 
 is, it does not lend itself readily to those tests we are now taught to consider scientific. 
 He varied his manner in the most curious and unusual way. In a single year you will 
 find pictures painted with the luminous thinness of Van Eyck, and others in which the 
 loaded brush is used with extraordinary vigor and bravura. . . . Once Rembrandt was 
 " through " with his tentative period which in his case lasted a very short time he 
 played with his manners, fusing this picture into a polished skin, loading the paint onto 
 that as if he wished to design in ridge and furrow; winning his light to-day from within, 
 catching it to-morrow on the surface of his paint; alternately diffusing the interest over 
 his canvas and concentrating it, even with violence, on a single point. The one thing 
 in which he never varies is loyalty to his own gift. From first to last he paints; he 
 understands that what he has to say must be said in and not through paint; that the 
 emotions and ideas for him are those which can be expressed in the material in which 
 he deals. Within these limits his variety is so absolute that instances of mere repetition 
 are scarcely to be found in the whole range of his work. Each conception suggested 
 its own treatment; and it is not until we reach the very end of his career, when at last 
 his brain is stiffening with age, that evolution ceases, and methods and types begin to 
 lose their power of variation. To the superficial observer- may he forgive me! all 
 this may seem the reverse of the truth, and he may assert, with some plausibility, that 
 Rembrandts are more like each other than the works of any one else. But this impres- 
 sion, which is, perhaps, the one carried away by most visitors to a picture gallery, 
 results naturally from the fact that his productions stand so decisively apart from the 
 common stream of art. It is not that he repeats himself, but that he repeats no one 
 else. His individuality is so imperious, self-sufficing, and all-transforming, that its pres- 
 ence blinds us to the infinite variety of its manifestations, and we have to wait till the 
 dazzle is over before we can recognize how changeful he is. 
 
 EMILE MICHEL "REMBRANDT: HIS LIFE, WORK, AND TIME" 
 
 POSTERITY has taken upon itself to avenge the oblivion into which Rembrandt 
 fell. And yet we would be wrong to bear too hardly upon his contemporaries for 
 their want of appreciation. Rembrandt's art was too original, too diametrically opposed 
 to received ideas, for things to be otherwise. The average man could not understand 
 it, and the touch of moroseness in the artist's self-contained personality was not calcu- 
 lated to attract his affection. He scandalized his fellow- townsmen by some of his pro- 
 ceedings, and in none did he lay himself out to please them. Always in extremes, his 
 temperament offers many contradictions. From one point of view he was a dreamer, 
 incapable of managing his affairs, or even of arranging his daily life. On the other hand, 
 in all that touched his work he showed a tenacity and a sense of system which are 
 rare even with the best-regulated artists. He created his own methods of study from 
 the very foundation. Simple in his habits and of an extreme frugality, he yet shrank 
 from no expenditure when it was a case of satisfying an artist's caprice. Good-humored, 
 kindly, and ready to do a service as he was, he nevertheless lived apart, in a solitude 
 
28 a?atet0tn&rt 
 
 which had something forbidding about it. He took an interest in all things, and yet, 
 although his movements were perfectly free, he never left his native country. Gifted 
 with a fine imagination, he yet clung to the skirts of nature; eager for every novelty, 
 it was yet in the humblest and most beaten tracks of life that he sought and found the 
 subjects he dressed in unexpected poetry. His sense of beauty was perfect, and he spares 
 us no extreme of ugliness. On a single canvas he will mix up the highest aspirations 
 with the commonest trivialities, the most absolute want of taste with a refinement of 
 delicacy almost excessive. 
 
 From the extreme precision and finish of the work of his youth to the breadth and large- 
 ness of that of his maturity was a steady march. In his first productions his studies, of 
 course, excepted his touch is fused, delicate, and subtle; in his later works it is broader, 
 freer, more decisive; and it ends with the somewhat forbidding abruptness of his old age. 
 In this connection some of his own remarks are significant ' Hang these pictures in 
 a very strong light," he says, in his youth, when speaking of his "Passion " series. 
 As age came upon him he kept the critics more at arm's length. "The smell of paint 
 is not good for the health, ' ' we hear him saying to some one who came too close to 
 his easel. At the same time, as a broader treatment led him to enlarge his figures, it also 
 caused him to diminish their number, for he felt that to multiply the points of interest, 
 as he used to do, was hurtful to the unity of the final result. His aim was to deepen 
 and clarify the effects. Among all possible movements and gestures he sought for those 
 which best agreed with the character of his subject, and established the closest and most 
 definite relations between the various figures. So too, in his portraits, he attached 
 / gradually less and less importance to the costume and to various colors. He suppressed 
 strong contrasts, and so led the eye more surely to the true centre of interest, the head. 
 He^rtcognizecT that all the features are not of equal moment. He insists upon those 
 which give individuality to a countenance, upon the mouth, and, still more, upon the 
 eyeSj_which he endows with a singular vivacity. As for color, after having first experi- 
 mented with a sort of monochrome made up of reddish tones, and afterwards with a 
 richer and more varied palette, he came to see that harmony, as he understood it, was 
 to be obtained by the utmost possible enforcement of certain dominant tones golden 
 and tawny browns, and especially reds and by their juxtaposition to broken tints of 
 iron-gray and neutral brown. His chiaroscuro, too, was modified as his powers grew. 
 The sharp transitions of his early work disappeared to make way for the quieter con- 
 trasts with which he obtained effects quite as powerful and more subtle and various. 
 
 His originality of interpretation was always controlled by study of nature. Nature 
 made him what he was, and to her he turned unceasingly. One of his principles was 
 that "Nature alone should be followed." Tradition had little power over him, and 
 yet he never deliberately threw off its yoke. On the contrary he was always keen to 
 know what men had done before his time, and to profit by their teaching. But when 
 a subject had to be treated he did not trouble himself too much about what others had 
 said. He thought about it for himself; he entered into it; he, as it were, lived it over 
 again, and then set himself to reproduce it in his own way, giving special force to those 
 aspects which had stirred his own emotions. 
 
 Rembrandt belongs to the breed of artists which can have no posterity. His place 
 is with the Michelangelos, the Shakespeares, the Beethovens. An artistic Prometheus, 
 he stole the celestial fire, and with it put life into what was inert, and expressed the 
 immaterial and evasive sides of nature in his breathing forms. from the french by 
 
 FLORENCE SIMMONDS. 
 
ft r m li r a n D t 29 
 
 Cije 23utcft School of $atnttng 
 
 1600 TO 1700 
 
 IN its beginning Dutch painting was, in both method and technique, closely allied to 
 that of Flanders as practised under the Van Eycks, and it was not until the early 
 part of the seventeenth century that art in Holland showed decided originality and force, 
 and that, simultaneously with the birth of political freedom in the country, a school of 
 painting came into being which rapidly rose to eminence and became justly famous. 
 
 Setting aside the Italian methods followed by the Flemish, the characteristics of the 
 Dutch school were distinctly individual and national. Domestic scenes, genre pictures, 
 and portraiture predominated; and the Dutch, always a plain, matter-of-fact race, no 
 idealists, but fond of home and of peaceful living, told in their art the story of the lives 
 of their countrymen with a fidelity and truth to nature that is always characteristic, and 
 often realistic to a fault. In portraiture they were especially strong. Among their earliest 
 painters in this branch we find the name of Michael Janse Mierevelt ( I 567-1641), 
 and among the greatest and most celebrated is that of Franz Hals (1 584-1666), whose 
 drawing, modelling, color, and technique entitle him to a place in the front rank of 
 portraitists. A little later came Rembrandt Harmens van Rijn (1 606-1 669), the 
 greatest painter of the Dutch school, and also famous as an etcher. His influence upon 
 the art of his country was immense. Among his pupils were Ferdinand Bol (161 1 
 1680), Govaert Flinck (1615-1660), Nicolaas Maes (163 2-1 693) and many others. 
 A painter who stands somewhat apart from the followers of either Hals or Rembrandt 
 is Bartholomew van der Heist (1612-^1670), whose numerous works are principally 
 portraits and large groups. 
 
 At this same period a great number of painters in Holland were engaged in produc- 
 ing genre pictures works finished with the utmost precision and delicacy of touch, 
 and on so small a scale that these artists are known as the "Dutch Little Masters." 
 The best painter among them was perhaps Gerard Terburg, or Terborch, (161 7 
 1 681), whose works are interiors, "conversation pieces," etc., marked by their deli- 
 cate but firm technique, skilful management of light and shade, and by refinement and 
 dignity. Gerard Dou (i 613-1675), a pupil of Rembrandt, is one of the best known 
 of the Dutch genre painters. His work is full of elaborately painted detail, and repre- 
 sents, for the most part, scenes in the middle and lower classes of Dutch life. Gabriel 
 Metsu ( 1 630-1 667), Caspar Netscher (1 639-1 684), Franz van Mieris ( 1635 
 1 68 1 ), Godefried Schalken (1643-17 06), were all painters of interiors, market, street, 
 or kitchen scenes. .Adrian van Ostade (1 610-1685) represented peasant life, and Jan 
 Steen (1625? 1679) depicted Dutch merrymakings, drunken scenes, etc., with power 
 and skill, but with small refinement. Pieter de Hooghe, or Hooch, (i632?-i68i ) is 
 celebrated as a painter of sunlight and of out-of-door effects as seen through an open 
 window or door. 
 
 The Dutch artists were among the first to give a distinctive character to landscape 
 painting, and many of them devoted themselves to this branch. Although as a rule 
 somewhat subdued and monotonous in color, their pictures often excelled in light and 
 in aerial perspective and atmospheric effects. Jan van Goyen (1 596-1656), whose 
 works are mostly depictions of Dutch bays, canals, and rivers, was one of the earliest 
 landscapists of the seventeenth century; while one of the most celebrated was Jakob van 
 Ruisdael (i625?-i682). His pictures are of wild mountainous country, abounding in 
 rushing streams, waterfalls and woods, with gray skies and dark shadows. Meindert 
 Hobbema (1638-1709), whose work met with more appreciation in England than in 
 
30 &$agtergin&rt 
 
 his own country, was a painter of wood-scenes, village streets, meadows, mills, etc. 
 His pictures are full of sunshine, and show a close study of nature. Philip Wouverman 
 ( 1 619-1668), who painted horses, cavalry skirmishes, and riding-parties, Aelbert 
 Cuyp ( 1 620-1 691), a painter of landscape with cattle, Paul Potter (1625-1654), 
 who achieved his reputation by his famous picture of " The Young Bull," now in the 
 Museum of The Hague, and Adrian van der Velde (163 5-1 67 2), who also introduced 
 cattle into his pictures, were all eminent as Dutch landscapists. 
 
 Willem van der Velde the Younger (1633-1707) and Ludolf Backhuysen (1631- 
 1 708) were the most noted among the seventeenth-century marine painters of Holland; 
 and of the still-life, flower, and fruit painters who became celebrated in their own day, 
 were Jan David van Heem (1603-1684), Jan van Huysam (1682-1749), Willem 
 van Aelst (1620-1679), Willem Kalf (1 620-1 693) and others. 
 
 With the seventeenth century the glory of the Dutch school of painting passed, and 
 was followed in the eighteenth by a period of decadence, Unbroken until our own 
 time, when a revival has taken place, and modern Dutch art, represented by such 
 painters as Israels, the brothers Maris, Mesdag, and Mauve, ably holds its own among 
 contemporary schools of painting. 
 
 Cije Works of &embrantit 
 
 DESCRIPTIONS OF THE PLATES 
 "MAN WITH A FUR CAP" THE HERMITAGE: ST. PETERSBURG 
 
 THIS portrait of a man, with his fantastic high cap, fur tippet, red robe, and gold- 
 headed stick was painted in 1637, and was formerly believed to represent John III. 
 Sobieski, King of Poland. It is probably, however, a fancy study; possibly, as has been 
 suggested by M. Mantz and others, Rembrandt himself was the original. 
 
 THE ANATOMY LESSON" GALLERY OF THE HAGUE 
 
 tf/ I V HE Anatomy Lesson," the first of Rembrandt's great portrait subjects, was 
 X painted in 1632 at the request of the celebrated anatomist, Nicolaas Pieterszoon 
 Tulp, for the Guild of Surgeons. In the picture Professor Tulp is seen standing behind 
 an operating-table upon which is placed the corpse. Forceps in hand, he lifts the ten- 
 dons of the partly dissected arm, while around him press his colleagues, eager to watch 
 and to listen. It is a marvellous picture for a young man of twenty-six, and is gen- 
 erally accepted as a milestone in the career, of the painter, and as marking a new de- 
 parture. 
 
 "It is Rembrandt's triumph," says Frederick Wedmore, "that over all this terri- 
 ble reality of the dead, the reality of the living is victorious; and our final impression 
 of his picture is not of the stunted corpse, but of the activity of vigor and intellect in 
 the lecturing surgeon and pressing crowd. ' ' 
 
 Malcolm Bell has written: "The enthusiasm aroused by 'The Anatomy Lesson,' 
 when it was finished and hung in its predestined place in the little dissecting-room of 
 the Guild of Surgeons, was immediate and immense. Commissions flowed in upon the 
 artist faster than he could execute them, so that those who wished to be immortalized 
 by him had often to wait their turn for months together, while all the wealth and fash- 
 ion of the city flocked to the far-off studio in the outskirts, the more fortunate to give 
 their sittings, the later comers to put down their names in anticipation of the future 
 
ftemfcranfct 31 
 
 leisure. From the beginning, too, pupils came clamoring to his doors, eager to pay 
 down their hundred florins a year, as Sandrart says they did, and work with and for 
 the lion of the day." 
 
 PORTRAIT OF A LADY" LIECHTENSTEIN GALLERY: VIENNA 
 
 OF the portraits painted by Rembrandt in 1636, two are in the Liechtenstein Gal- 
 lery, Vienna. One of these depicts a young man in officer's costume, the other 
 represents his wife. It is this latter picture which is here reproduced. The lady is 
 richly dressed in brown, with a gold-embroidered stomacher. On her chestnut hair rests 
 a little circle of pearls to which a long blue feather is attached. Pearls are in her ears 
 and around her neck and wrist. 
 
 11 Few of Rembrandt's works," writes Dr. Bode, " even those painted during his best 
 period, represent the charm of woman so alluringly as this portrait of a lady, whose radi- 
 antly fair complexion shines out from its framework of luxuriant hair, and is offset by a 
 rich and superbly painted costume. Few of his portraits are so striking in their person- 
 ality, and are at the same time so essentially feminine. In this picture Rembrandt shows 
 himself the peer of Rubens as a painter of voluptuous beauty." 
 
 "PORTRAIT OF SASKIA" CASSEL GALLERY 
 
 THIS portrait of Saskia van Uylenborch was probably painted in 1634, shortly 
 before her marriage to Rembrandt, which took place in that year. Seen in profile 
 and standing, she is richly dressed, and is adorned with a profusion of pearls and precious 
 stones. Her broad hat of red velvet is trimmed with a long white feather; and in one 
 hand she holds a sprig of rosemary, an emblem of betrothal at that time in Holland. 
 
 In describing the picture Vosmaer says: " The figure is well defined against a dark- 
 brown background. The face is entirely in light, almost without shadows, but lifelike 
 and fresh in color, while the rest of the figure is in half-shadow. The whole portrait is 
 finished with extreme care, but lacks freedom in the treatment; the handling being pre- 
 cise and without that quality of suggestiveness which distinguishes so much of Rem- 
 brandt's work." 
 
 "SORTIE OF THE CIVIC GUARD" RYKS MUSEUM: AMSTERDAM 
 
 AMONG the Guilds or Corporations prominent in the history of Holland, the 
 military companies played an important part. Their members were drawn from 
 the principal families of each city, and it was upon them that the civic authorities de- 
 pended for the maintenance of public order. It was customary to perpetuate the honors 
 of these Guilds in portraits paid for by subscription on the part of each member desirous 
 of being depicted, and presented by them to the Corporation to hang in the halls of the 
 Doelens or places of assembly. Such a picture Rembrandt was asked to paint for Cap- 
 tain Frans Banning Cocq and his company of musketeers. 
 
 Erroneously called "The Night Watch," a name given it by French writers at 
 the end of the eighteenth century, it is not a night scene, as its darkened condition, 
 caused by time, thick coatings of varnish, and fumes from peat-fires and tobacco smoke 
 seemed to indicate, but on the contrary, as a recent cleaning and restoration has proved, 
 was painted in full sunlight. It has even been asserted that the exact position of the 
 sun can be ascertained from the shadow cast by Banning Cocq's hand on the tunic 
 of his lieutenant. 
 
 The incident represented is a call to arms of the Civic Guard. The company is issu- 
 ing from its guild house; the captain, dressed in black and wearing a red scarf, gives 
 his orders to the lieutenant, who, clad in yellow, with a white scarf about his waist, and 
 
32 apagtergin&rt 
 
 wearing a yellow hat adorned with a white feather, walks at his side the two men 
 preceding the rest of the group. 
 
 The canvas measures eleven by fourteen feet, but as originally painted in 1642 was 
 considerably larger. The mutilation which it has undergone took place in 171 5, when 
 the picture was removed from the Hall of the Musketeers' Doelen to the Town Hall 
 of Amsterdam; and in order to suit it to the dimensions of the place assigned to it, 
 part of the drum to the left, and two figures to the right, of the canvas were cut off. 
 A contemporary copy of the work by Gerrit Lundens, now in the National Gallery, 
 London, shows this to have been the case. 
 
 By its originality of treatment "The Night Watch " stands alone in the history of 
 corporation pictures. "It was destined to deal a fatal blow to Rembrandt's reputa- 
 tion," writes M. Michel, "and to sensibly diminish his clientele. ... To begin 
 with, his treatment of light was disconcerting in the extreme to the average Dutch mind 
 a mind pre-eminently sober and practical, which insisted on clarity and precision 
 in all things. Secondly, those more immediately concerned in the matter naturally 
 resented so audacious a divergence from traditional ideas. Relying on the orthodox prec- 
 edents, each had paid for a good likeness of himself, and a good place on the canvas. 
 But the painter boldly ignored the terms of the tacit contract. The two officers prom- 
 inent in the centre of the composition had, of course, nothing to complain of, but the 
 rank and file, with the exception of some four or five members, had come off very badly. 
 Faces in deep shadow relieved by stray gleams of light, others scarcely visible, and 
 others again so faintly rendered as to be barely recognizable, were not at all to their 
 taste. Disregarding established conditions of these portrait groups, the painter had 
 sacrificed their personalities to aesthetic considerations. His first care had been to com- 
 pose a picture. . . . After such a blow to their vanity the civic guards bestowed their 
 patronage elsewhere, and Rembrandt's commissions fell off from this time forward." 
 
 "PORTRAIT OF ELEAZAR SWALMIUS" ANTWERP MUSEUM 
 
 "\j SPECIALLY strong and effective," writes Dr. Bode, " is the portrait of Eleazar 
 I_j Swalmius, a clergyman of Amsterdam. This venerable personage, of about sixty 
 years of age and of imposing presence, is seated in a low arm-chair, and regards the spec- 
 tator with a benevolent expression, accompanying the words which he seems to have just 
 uttered with a characteristic gesture of the hand." The portrait is dated 1637, and in 
 the catalogue of the gallery is called " Portrait of a Burgomaster." 
 
 "PORTRAIT OF ELIZABETH BAS" RVKS MUSEUM: AMSTERDAM 
 
 "TT XQUISITE as is the technique in the portrait of Elizabeth Bas," writes M. 
 _J Michel, "it is altogether lost sight of in the profound impression produced by 
 the creation as a whole. By far the most remarkable portrait painted by Rembrandt at 
 this period (1643 1646), it fairly claims to rank among his great masterpieces. Eliza- 
 beth Bas, widow of the Admiral J. Hendrick Swartenhout, belonged herself to a family 
 of no great importance; but by her marriage with one of those heroic sailors who con- 
 tributed so largely to the glory and prosperity of Holland, she had been admitted to the 
 most distinguished society of Amsterdam. Born in I 57 1 , she appears to have been 
 from seventy-two to seventy-five years old when the portrait was painted. It is a three- 
 quarters length of an old lady, seated, and facing the spectator. Her black dress is 
 marked by the subdued elegance proper to her rank and age. A closely fitting white 
 cap with semicircular ear-pieces surrounds the face, showing the roots of the hair in 
 front, and the whiteness of the large goffered ruff is mitigated by the pronounced 
 shadow cast by the head. In spite of her yellow complexion and parchment skin, the 
 
ftembrantit 33 
 
 old lady's bearing is still erect and stately. The vigorous contours, sharply defined 
 against the neutral background, the close, incisive drawing, the truth of the modelling, 
 the decision of the accents, the extreme frankness of the intonations, even the choice of 
 attitude, all combine to suggest the individuality of the sitter. Greatly as Rembrandt 
 excelled in the rendering of those essential traits that character and habit stamp on a 
 human face, he never gave more eloquent expression of his powers than in this mas- 
 terpiece of sincerity and divination." 
 
 "CHRIST AT EMMAUS" LOUVRE: PARIS 
 
 A DESCRIPTION of this remarkable picture, included in a criticism by Fromen- 
 tin, will be found on pages 23, 24, and 25 of this number. It was painted in 
 1648. It is unusually small in size, measuring only twenty-six by twenty-seven inches. 
 
 "THE SHIPBUILDER AND HIS WIFE" BUCKINGHAM PALACE: LONDON 
 
 "T} EMBRANDT'S great masterpiece of 1633, a year so rich in important 
 J^. works," writes M. Michel, "is the large canvas known as 'The Shipbuilder 
 and His Wife.' The husband, an elderly man with a white beard and moustache, and 
 strongly marked but placid features, sits at a table, busily drawing the plan of a ship's 
 hull. He holds a compass in his right hand, and turns for a moment from his task to 
 his wife, an old woman in a white cap, who has just entered the room to hand him 
 what is doubtless a letter. 
 
 " The frank and generous execution, the soft, warm light, the sober color, the transpar- 
 ent shadows, are all in exquisite harmony with the homely scene, and attune the specta- 
 tor's mind to fuller sympathy with the old couple. By bringing them thus together he 
 has given us not merely a picture, but an epitome of two lives, which, thanks to his art, 
 are as closely associated in our memories as in reality." 
 
 "SYNDICS OF THE CLOTH GUILD" RYKS MUSEUM: AMSTERDAM 
 
 "/COMMISSIONED by the Guild of Drapers, or Cloth-workers," writes M. 
 
 V>i Michel, " to paint a portrait group of their Syndics (or directors) for the Hall 
 of the Corporation, Rembrandt delivered to them, in 1 66 1 , the great picture which for- 
 merly hung in the Chamber of the Controllers and Gaugers of Cloth at the Staalhof, and 
 has now been removed to the Ryks Museum. 
 
 "As was the custom among the military guilds, which gradually declined as the civic 
 corporations increased in importance, it became a practice among the latter to decorate 
 their halls with portraits of their dignitaries. Whatever the character of the Company, 
 the manner of representation differed little in these portraits. . . . 
 
 " In this instance Rembrandt made no attempt to vary traditional treatment by pictur- 
 esque episode, or novel method of illumination, as in the case of * The Night Watch.' 
 The five members of the Corporation are ranged round the inevitable table, prosaically 
 occupied in the verification of their accounts. They are all dressed in black costumes, 
 with flat white collars, and broad-brimmed black hats. Behind them, and somewhat in 
 the shadow, as befits his office, a servant, also in black, awaits their orders with uncov- 
 ered head. The table-cloth is of a rich scarlet; a wainscot of yellowish-brown wood 
 with simple mouldings, forms the background for the heads. No accessories, no varia- 
 tion in the costumes; an equally diffused light, falling from the left on the faces, which 
 are those of men of mature years, some verging on old age. With such modest materi- 
 als Rembrandt produced his masterpiece. 
 
 "At the first glance we are fascinated by the extraordinary reality of the scene, by the 
 commanding presence and intense vitality of the models. They are simply honest citi- 
 
34 a$a t er in &r t 
 
 zens discussing the details of their calling; but there is an air of dignity on the manly 
 faces that compels respect. The eyes look out frankly from the canvas; the lips seem 
 formed for the utterance of wise and sincere words. Such is the work, but, contem- 
 plating it, the student finds it difficult to analyze the secret of its greatness, so artfully is 
 its art concealed. Unfettered by the limitations imposed on him, the master's genius 
 finds its opportunity in the arrangement of the figures and their spacing on the canvas, 
 in the slight inflection of the line of faces, in the unstudied variety of gesture and attitude, 
 in the rhythm and balance of the whole. We note the solid structure of the heads and 
 figures, the absolute truth of the values, the individual and expressive quality of each 
 head, and the unison between them. Passing from the drawing to the color, our 
 enthusiasm is raised by the harmony of intense velvety blacks and warm whites with 
 brilliant carnations, which seem to have been kneaded, as it were, with sunshine; by the 
 shadows which bring the forms into relief by an unerring perception of their surfaces and 
 textures; and, finally, by the general harmony, the extraordinary vivacity of which can 
 only be appreciated by comparing it with the surrounding canvases. . . . 
 
 '* Never before had Rembrandt achieved such perfection; never again was he to repeat 
 the triumph of that supreme moment when all his natural gifts joined forces with the vast 
 experiences of a life devoted to his art, in such a crowning manifestation of his genius. 
 Brilliant and poetical, his masterpiece was at the same time absolutely correct and unex- 
 ceptionable. Criticism, which still wrangles over The Night Watch,' is unanimous in 
 admiration of the 'Syndics.' In it the colorist and the draughtsman, the simple and 
 the subtle, the realist and the idealist alike recognize one of the masterpieces of painting." 
 
 THE PRINCIPAL PAINTINGS OF REMBRANDT, WITH THEIR 
 PRESENT LOCATIONS 
 
 AMSTERDAM, Ryks Museum: Sortie of the Civic Guard ("The Night Watch") 
 (Plate V)j Rembrandt's Father; Young Lady; Syndics of the Cloth Guild (Plate x); 
 Jewish Bride; Anatomy Lesson of Dr. Deyman; Elizabeth Bas (Plate vn) Amsterdam, 
 Six Collection: Burgomaster Six; Anna Vymer; Ephraim Bonus; Joseph Interpreting 
 his Dreams Antwerp Museum: Eleazar Swalmius (Plate vi) Berlin Gallery 
 Money-Changer; Judith, or Minerva; Rape of Proserpina; Two Portraits of Rembrandt 
 Samson Threatening his Father-in-Law; Saskia; A Rabbi; Wife of Tobit; Joseph's Dream 
 Susannah and the Elders; Daniel's Vision; Minister Anslo and a Widow; Joseph and 
 Potiphar's Wife; Old Man, study; Jacob Wrestling with the Angel; Moses Breaking 
 Tables of Law; John the Baptist Preaching; Hendrickje Stoffels Boston, Art Museum: 
 Dr. Nicolaas Tulp; Wife of Dr. Tulp Brunswick Gallery: Unknown Man; Por- 
 trait of Woman; Warrior; Stormy Landscape; Noli me tangere; Family Group Brus- 
 sels Museum: Portrait of Man; Old Woman Cassel Gallery: Portrait of Man; 
 Three Portraits of Rembrandt; Three Portraits of Old Men; Head of Old Man; Portrait 
 said to be Coppenol; Jacob blessing the Sons of Joseph; Man in Armor; Saskia (Plate iv); 
 Jan Herman Krul; Holy Family; Winter Landscape; The Ruin; Portrait of Bruyningh; 
 Young Woman Chicago, Art Institute: Young Girl Dresden, Royal Gal- 
 lery: Saskia; Portrait of Man; Willem Burchgraeff'; Capture of Ganymede; Rembrandt 
 and Saskia; Samson's Wedding Feast; Sportsman with Bittern; Saskia Holding a Pink; 
 Sacrifice of Manoah; Old Woman Weighing Gold; Young Man; Three Portraits of Old 
 Men; Entombment; Portrait of Rembrandt Dublin, National Gallery: Shepherds 
 at Night; Two Portraits of Men Dulwich Gallery: Young Man; Girl at Window 
 Edinburgh, National Gallery: Young Woman in Bed The Hague Gallery: 
 Rembrandt's Mother; Rembrandt's Father; Rembrandt; Young Girl; Presentation in 
 Temple; Anatomy Lesson (Plate li); Rembrandt as Officer; Woman at her Toilet; Susan- 
 nah at the Bath; Portrait believed to be Rembrandt's Brother; Man Laughing Hamp- 
 ton Court: A Rabbi London, Buckingham Palace: Shipbuilder and his Wife 
 (Plate ix); Burgomaster Pancras and his Wife; Lady with Fan; Christ and Mary Mag- 
 
ft em b r a nH t : 3\4 
 
 dalen; Jewish Rabbi; Rembrandt; Adoration of Magi London, Dorchester House: 
 Martin Looten; Man with Sword; Portrait of Lady; Titus London, Grosvenor 
 House: Salutation; Gentleman with Hawk; Lady with Fan; Nicholas Bercham and his 
 Wife; Rembrandt; Landscape London, Ilchester House: Rembrandt in Oriental 
 Dress London, National Gallery: Old Woman; Portrait of Man; Ecce Homo; 
 Rembrandt (bis); Woman taken in Adultery; Adoration of the Shepherds; Woman 
 Bathing; A Rabbi; Old Man; A Monk; Portrait of a Woman; Jewish Merchant; Land- 
 scape; Christ taken from the Cross; A Burgomaster; Portrait of Old Lady London, 
 Wallace Collection: Burgomaster Pellicorne and his Son; Wife and Daughter of 
 Pellicorne; Good Samaritan; Rembrandt's Mother; A Boy; Landscape; Rembrandt (bis); 
 Young Negro; Young Man; Old Man; Unmerciful Servant Madrid, The Prado: 
 Queen Artemisia (or Cleopatra) Munich Gallery: Holy Family; Descent from the 
 Cross; Elevation of the Cross; Ascension; Entombment; Resurrection; Sacrifice of Isaac; 
 Adoration of Shepherds; Rembrandt; A Turk New York, Havemeyer Collection: 
 Portraits of a Burgomaster and his Wife; Old Woman; Paulus Doomer (" The Gilder ") 
 New York, Metropolitan Museum: Man with a Broad Collar; Old Man; The 
 Mills; Adoration of the Shepherds Paris, Louvre : Philosopher in Meditation (bis); 
 Rembrandt (Page ao); Three Portraits of Rembrandt; Angel Raphael Leaving Tobit; 
 Christ at Emmaus (Plate vm); Good Samaritan; Carpenter's Home; Saint Matthew; Young 
 Man; Venus and Cupid; Slaughter-House; Bathsheba; Hendrickje StofFels; Three Por- 
 traits of Men Paris, M. Rodolphe Kann's Collection: Head of Christ; Titus; A 
 Rabbi; Young Woman; Old Woman (bis) Paris, Baron Gustav de Rothschild's 
 Collection: Martin Daey; Wife of Martin Daey; Standard-Bearer St. Petersburg, 
 Hermitage: Rembrandt's Father; Portrait of a Man; Descent from the Cross; Incredulity 
 of St. Thomas; Jewish Bride; Sacrifice of Isaac; Oriental; Danae; Man with Fur Cap, 
 called Sobieski (Plate i); Young Man; Parable of Master of the Vineyard; Five Por- 
 traits of Old Women; David and Absalom; Holy Family; Portrait of Man; Abraham 
 Receiving Angels; Sons of Jacob; Disgrace of Hainan; Pallas; Hannah and Infant Sam- 
 uel; Girl with Broom; Old Jew; Three Portraits of Old Men; Joseph and Potiphar's 
 Wife; St. Peter's Denial; Young Woman; Young Woman Trying on Earring; Portrait 
 of Man; Young Man; Jeremias de Decker; Prodigal Son; Old Jew Vienna, Imperial 
 Gallery: Portrait of Man; Portrait of Woman ; St. Paul; Rembrandt (bis); Rembrandt's 
 Mother; Young Man Singing Vienna, Liechtenstein Gallery: Portrait of Saskia, 
 or Rembrandt's Sister; Young Girl at her Toilet; Portrait of Man; Portrait of Lady 
 (Plate in); Rembrandt. 
 
 &emfirantit Btfcltojjrapfjp 
 
 A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES 
 DEALING WITH REMBRANDT AND HIS SCHOOL 
 
 AMAND-DURAND. CEuvre de Rembrandt. (Paris, 1880) Bell, M. Rembrandt 
 van Rijn and his Work. (London, 1 899) Blanc, C. L' CEuvre complet de Rembrandt. 
 (Paris, 1880) Bode, W. Studien zur Geschichte der hollandischen Malerei. (Bruns- 
 wick, 1883) Bode,W. Rembrandt Hermanszoon van Rijn. (Paris, 1898) Bode, W. 
 L' CEuvre complet de Rembrandt. (Paris, 1897) Bredius, A. Les chefs-d' ceuvre du 
 Musee royal d' Amsterdam. (Paris, 1890) Bredius, A. Die Meisterwerke der Konig- 
 lichen Gemalde Galerie im Haag. (Munich, 1890) Burger, W. Les Musees de Bel- 
 gique et Hollande. (Paris, 1862) Busken-Huet. Het Land van Rembrandt. (Harlem, 
 1886) CoguEREL, A. Rembrandt et l'lndividualisme dans l'Art. (Paris, 1869) 
 Cundall, J. Life and Genius of Rembrandt. (London, 1867) Dargenville. Abrege 
 de la Vie des plus fameux peintres. (Paris, 1745) Dutuit, E. L'CEuvre complet de 
 Rembrandt. (Paris, 1880) Fromentin, E. Les Maitres d'autrefois. (Paris, 1877) 
 Galland, C. Geschichte der hollandischen Baukunst und Bildnerei. (Leipzig, 1890) 
 
36 $ater in ^t r t 
 
 Haden, F. S. Etched Work of Rembrandt. (London, 1879) Hamerton, P. G, 
 Etching and Etchers. (London, 1868) Havard, H. L'Art et les artistes hollandais. 
 (Paris, 1879) Hoogstraten, S. van. Inleyding tot de hooge School der Schilderkunst. 
 (Rotterdam, 1678) Houbraken, A. De groote Schoubourg der nederlandtsche Kont- 
 schilders. (Amsterdam, 1718) Humphreys, N. Rembrandt's Etchings. (London, 
 1871) Immerzeel, J. Lofrede op Rembrandt. (Amsterdam, 1841) Knackfuss-, H. 
 Rembrandt. (Leipzig,-**^-) Kugler, F. T. Handbook of Painting: the German,. 
 Flemish, and Dutch Schools. Revised by J. A. Crowe. (London, 1874) Langbehn. 
 Rembrandt ais Erzieher. (Leipzig, 1&90) Lemcke, C. Rembrandt van Rijn [In Dohme's 
 Kunst und Kiinstler, etc.]. (Leipzig, 1877) Michel, E. Rembrandt: sa^*i^-*on 
 ceuvre, et son temps. (Paris, 1893) MtCHEL, E. Rembrandt: His Life, His Work, and 
 His Time. Trans, by Florence Simmonds. (London, 1894) Middleton, C. H. A De- 
 scriptive Catalogue of the Etched Work of Rembrandt. (London, 1878) Mollett, J. 
 W. Rembrandt. (London, 1879) Orlers, J. Beschryving der Stad Leiden. (Leyden, 
 1641) Riegel, H. Beitrage zur niederlandischen Kunstgeschichte. (Berlin, 1882) 
 Scheltema, P. Rembrandt, Discours sur sa vie et son genie. (Paris, 1 866) Springer, A. 
 Bilder aus der neueren Kunstgeschichte. (Bonn, 1866) Van Dyke, J. C. Old Dutch 
 and Flemish Masters: Engravings by T. Cole. (New York, 1895) Vosmaer, C. 
 Rembrandt: sa vie et ses ceuvres. (Paris, 1877) Wedmore, F. Masters of Genre 
 Painting. (London, 1880). 
 
 magazine articles 
 
 ACADEMY, vol. 38: The Dansaert Portrait (C. Monkhouse). vol. 44: Paintings- 
 by Rembrandt; the Holford Collection (F. Wedmore). vol. 46: Ashburnham Picture 
 by Rembrandt (C. H. Middleton- Wake) Art Journal, vol. 46: The Great Master 
 
 Rembrandt (H.Ward). VOL. 50: Rembrandt Exhibition at Amsterdam Athen^um,. 
 1894: Michel's and Simmonds's Life of Rembrandt. 1899: A New Rembrandt (J. C. 
 Robinson). 1899: A New Rembrandt (M. Bell) Blackwood's Magazine, vol. 44: 
 Rembrandt and the Dutch School Century Magazine, vol. 47: Rembrandt (M. G. 
 Van Rensselaer) Contemporary Review, vol. 43: Gospel History According to 
 Rembrandt (R. Heath) Dial, vol. 16: Rembrandt (J. C. Van Dyke) Edinburgh 
 Review, vol. 150: Works of Rembrandt Fortnightly Review, 1894: Life and 
 Works of Rembrandt (W. Armstrong) Gazette des Beaux-Arts, 1875: Les Eaux- 
 fortes de Rembrandt (G. Duplessis). 1879: A propos de deux Tableaux de Rembrandt 
 (H. Havard). 1880: L'CEuvre grave de Rembrandt (L. Gonse). 1885: LTnauguration 
 du nouveau Musee d' Amsterdam (L. Gonse). 1885: L'CEuvre de Rembrandt (L. Gonse). 
 1887: Les nouveaux Documents hollandais sur la Ronde de Nuit (E. Durand-Greville). 
 
 (~\%%<)\ Le Nettoyage de la Ronde de Nuit (E. Durand-Greville). 1890: La Jeunesse de 
 ^Rembrandt (E. Michel). 1892: Rembrandt et l'Artltalien (E. Miintz). 1893: Rembrandt 
 d'apres un Livre nouveau (L. Gonse) Good Words, vol. 35: Rembrandt and his. 
 Work (J. M. Gray) Jahrbuch der Preussischen Kunstsammlungen, 1892: Rem- 
 brandt's Predigt Johannes des Taufers (W. Bode). 1894: Entlehnungen Rembrandts 
 (C. Hofstede De Groot). 1895: Rembrandt's Bildnis des Mennoniten Anslo (W. Bode). 
 1897: Die Bildnisse der Saskia van Uylenborch (W. Bode) Magazine of Art, vol. 8- 
 The Book of Rembrandt (W. E. H.). vol. 16: Rembrandt's "Hendrickje StofFels" 
 (J. F. White). VOL. 23: Rembrandt (W. Armstrong), vol. 23: Rembrandt Exhibition 
 at the British Museum (R. A. M. Stevenson) Nation, vol. 58: Rembrandt (K. Cox). 
 vol. 67: Rembrandt Exhibition at Amsterdam (E. R. Pennell). VOL. 68: Rembrandt in 
 London (E. R. Pennell). vol. 68: Rembrandt at the British Museum (E. R. Pennell) 
 North American Review, vol. 170: The Picture Gallery of the Hermitage (C. Phillips) 
 
 Outlook, vol. 53: Sketch of Rembrandt (E. F. Baldwin) Portfolio, 1894: Etch- 
 ings of Rembrandt (J. B. Atkinson). 1892: Rembrandt (W. Armstrong). 1894: Etch- 
 ings of Rembrandt (P. G. Hamerton) Quarterly Review, vol. 179: Rembrandt and 
 His Art Saturday Review, vol. 77: Michel's Life of Rembrandt Zeitschrift fur 
 Bildende Kunst, 1892: Rembrandt's Radierungen (W. von Seidlitz). 1898: Rembrandt's 
 Bildnis seines Bruders (F. Laban). 1899: Kritische Bemerkungen zur Amsterdamer 
 Rembrandt-Ausstellung (A. Bredius). 
 
UNIVERSITY OF CALIFORNIA LIBRARY 
 BERKELEY 
 
 Return to desk from whieh borrowed. 
 This book is DUE on the last date stamped below. 
 
 'g*50HJ 
 
 l70ct'55Tr 
 BtB9 19S5LU 
 
 DEC 
 
 !0\969 aa 
 
 \P 
 
 ** 
 
 .10- 
 
 A?* 
 
 24iaP '60CRl MAR 171972 8 
 HEC^ to ^ECD LD MAR 3 '|2 -2PM 6 9 
 
 JAN 13 1360 
 
 3\Ma/64LM 
 
 H M2V64-7P^ 
 
 LD 21-100m-ll,'(B714616)476 
 

 UNIVERSITY OF CALIFORNIA UBRARY 
 
REMBRANDT 
 
 PAINTINGS 
 
 643 PICTURES 
 
 Price, net . $3.50 
 
 Postage, 50 cents additional 
 
 ETCHINGS 
 
 402 PICTURES 
 
 Price, net . $2.00 
 
 Postage, 32 cents additional 
 
 THESE two books are in the German series of mono- 
 graphs upon the great painters, published under the 
 title, KLASSIKER DER KUNST. The pictures 
 are preceded by a biographical sketch (in German). The 
 size of the book is 8 x 10^ inches; the binding, full cloth. 
 Prices quoted are net, and postage must be added for mail 
 orders. The full list of subjects thus far published follows: 
 
 (643 
 
 I Raphael (275 pictures) 
 
 II Rembrandt, Paintings 
 
 pictures) . . . 
 
 III Titian (274 pictures) . 
 
 IV Diirer (473 pictures) . 
 V Rubens (551 pictures) 
 
 VI Velasquez (172 pictures) 
 
 VII Michelangelo [(169 pictures) 
 
 VIII Rembrandt, Etchings (402 
 
 pictures) .... 
 
 IX Schwind (1,265 pictures) 
 
 X Correggio (196 pictures) 
 
 XI Donatello (277 pictures) 
 
 XII Uhde (285 pictures) . . 
 
 XIII Van Dyck (537 pit^res) 
 
 XIV Memlinc (197 pictures) . 
 XV Thoma (874 pictures) 
 
 XVI Mantegna (270 pictures) 
 
 XVII Rethel (280 pictures) 
 
 $2.00, postage extra, 28 cents 
 
 3-5o 
 
 i-75 
 2.50 
 3-00 
 
 1.75 
 1.50 
 
 2.00 
 3-75 
 1-75 
 2.00 
 2.50 
 3-75 
 i-75 
 3-75 
 2.00 
 2.25 
 
 50 
 28 
 
 38 
 44 
 25 
 26 
 
 32 
 56 
 
 25 
 28 
 
 34 
 48 
 28 
 52 
 28 
 28 
 
 BATES & GUILD COMPANY 
 
 144 CONGRESS STREET, BOSTON 
 
 In answering advertisements, please mention Masters in Art